OJS (Centro de Investigação em Artes e Comunicação)
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Digital Image: The Role of Apparatus, Artificial Intelligence, and Machine Learning in Visual Communication in the Digital Age
Full text linkThe paper aims to provide a comprehensive analysis of the current state of digital imagery and the implications of recent technologies, including artificial intelligence (AI), in shaping the future of communication in the digital age. The impact of digital transformation on photography has been significant, with a shift from representing reality to serving as a source of raw data for autonomous learning machines. The generative capabilities of AI systems signify a profound shift in creative practices. These systems, capable of producing highly realistic images that often are indistinguishable from human-made ones, have significant implications for both individual creativity and the broader visual culture landscape. This transition has led to questions regarding the role of AI and machine learning in visual communication. As the landscape of creativity evolves with AI, it is imperative to navigate these complexities thoughtfully, ensuring that the integration of AI into creative domains enriches rather than diminishes the human creative experience. In this paper, we also incorporated a set of images generated by Midjourney of an ongoing project to illustrate the remarkable ability of this AI tool to produce visuals that can be deceptively similar to real photographs. Therefore, a comprehensive analysis of the role of apparatus, AI, and machine learning in visual communication, in the digital age is needed to understand the complexities of relying solely on machines and the risks of unconditional trust in technology. Finally, we propose to understand how these technologies are changing the way we communicate and consume images in the twenty-first century, and while the ability to employ computer vision, continuous image streams, and machine learning has beneficial implications, it also presents ethical challenges.The paper aims to provide a comprehensive analysis of the current state of digital imagery and the implications of recent technologies, including artificial intelligence (AI), in shaping the future of communication in the digital age. The impact of digital transformation on photography has been significant, with a shift from representing reality to serving as a source of raw data for autonomous learning machines. The generative capabilities of AI systems signify a profound shift in creative practices. These systems, capable of producing highly realistic images that often are indistinguishable from human-made ones, have significant implications for both individual creativity and the broader visual culture landscape. This transition has led to questions regarding the role of AI and machine learning in visual communication. As the landscape of creativity evolves with AI, it is imperative to navigate these complexities thoughtfully, ensuring that the integration of AI into creative domains enriches rather than diminishes the human creative experience. In this paper, we also incorporated a set of images generated by Midjourney of an ongoing project to illustrate the remarkable ability of this AI tool to produce visuals that can be deceptively similar to real photographs. Therefore, a comprehensive analysis of the role of apparatus, AI, and machine learning in visual communication, in the digital age is needed to understand the complexities of relying solely on machines and the risks of unconditional trust in technology. Finally, we propose to understand how these technologies are changing the way we communicate and consume images in the twenty-first century, and while the ability to employ computer vision, continuous image streams, and machine learning has beneficial implications, it also presents ethical challenges.The paper aims to provide a comprehensive analysis of the current state of digital imagery and the implications of recent technologies, including artificial intelligence (AI), in shaping the future of communication in the digital age. The impact of digital transformation on photography has been significant, with a shift from representing reality to serving as a source of raw data for autonomous learning machines. The generative capabilities of AI systems signify a profound shift in creative practices. These systems, capable of producing highly realistic images that often are indistinguishable from human-made ones, have significant implications for both individual creativity and the broader visual culture landscape. This transition has led to questions regarding the role of AI and machine learning in visual communication. As the landscape of creativity evolves with AI, it is imperative to navigate these complexities thoughtfully, ensuring that the integration of AI into creative domains enriches rather than diminishes the human creative experience. In this paper, we also incorporated a set of images generated by Midjourney of an ongoing project to illustrate the remarkable ability of this AI tool to produce visuals that can be deceptively similar to real photographs. Therefore, a comprehensive analysis of the role of apparatus, AI, and machine learning in visual communication, in the digital age is needed to understand the complexities of relying solely on machines and the risks of unconditional trust in technology. Finally, we propose to understand how these technologies are changing the way we communicate and consume images in the twenty-first century, and while the ability to employ computer vision, continuous image streams, and machine learning has beneficial implications, it also presents ethical challenges.The paper aims to provide a comprehensive analysis of the current state of digital imagery and the implications of recent technologies, including artificial intelligence (AI), in shaping the future of communication in the digital age. The impact of digital transformation on photography has been significant, with a shift from representing reality to serving as a source of raw data for autonomous learning machines. The generative capabilities of AI systems signify a profound shift in creative practices. These systems, capable of producing highly realistic images that often are indistinguishable from human-made ones, have significant implications for both individual creativity and the broader visual culture landscape. This transition has led to questions regarding the role of AI and machine learning in visual communication. As the landscape of creativity evolves with AI, it is imperative to navigate these complexities thoughtfully, ensuring that the integration of AI into creative domains enriches rather than diminishes the human creative experience. In this paper, we also incorporated a set of images generated by Midjourney of an ongoing project to illustrate the remarkable ability of this AI tool to produce visuals that can be deceptively similar to real photographs. Therefore, a comprehensive analysis of the role of apparatus, AI, and machine learning in visual communication, in the digital age is needed to understand the complexities of relying solely on machines and the risks of unconditional trust in technology. Finally, we propose to understand how these technologies are changing the way we communicate and consume images in the twenty-first century, and while the ability to employ computer vision, continuous image streams, and machine learning has beneficial implications, it also presents ethical challenges
A propósito da palestra de outro dia – Notas sobre um cozinheiro-ator e do cinema como arte impressionista
Full text linkInterview given by filmmaker Leonardo Mouramateus and actor Mauro Soares to researchers Patrícia Dourado and Mirian Tavares, regarding the lecture “Materialities of the Word in Creative Processes,” held on May 16, 2023, in Faro, Algarve, as part of the course Transversal Materialities of Creation, within the Master’s in Creation Processes at the University of Algarve. The interview was a supplementary material for the researchers, whose questions were sent after the lecture as a way of obtaining a tangible record of some points discussed by the artists during the event, to which they kindly responded. The answers, which were significant for the development of other works by the researchers, are here shared with the scientific community interested in the study of creation archives and the nuances of the fictional gesture, particularly in relation to these two artists – but not exclusively – as an invitation for future studies. Among the topics discussed are the word as material and tool for creation; the laboratory-kitchen of actor-chemist-cook Mauro Soares; some childhood memories; composition with emptiness; cinema as an impressionist art form for Leonardo Mouramateus; possibilities for a living fiction; and the actor as a being in front of things.Interview given by filmmaker Leonardo Mouramateus and actor Mauro Soares to researchers Patrícia Dourado and Mirian Tavares, regarding the lecture “Materialities of the Word in Creative Processes,” held on May 16, 2023, in Faro, Algarve, as part of the course Transversal Materialities of Creation, within the Master’s in Creation Processes at the University of Algarve. The interview was a supplementary material for the researchers, whose questions were sent after the lecture as a way of obtaining a tangible record of some points discussed by the artists during the event, to which they kindly responded. The answers, which were significant for the development of other works by the researchers, are here shared with the scientific community interested in the study of creation archives and the nuances of the fictional gesture, particularly in relation to these two artists – but not exclusively – as an invitation for future studies. Among the topics discussed are the word as material and tool for creation; the laboratory-kitchen of actor-chemist-cook Mauro Soares; some childhood memories; composition with emptiness; cinema as an impressionist art form for Leonardo Mouramateus; possibilities for a living fiction; and the actor as a being in front of things.Interview given by filmmaker Leonardo Mouramateus and actor Mauro Soares to researchers Patrícia Dourado and Mirian Tavares, regarding the lecture “Materialities of the Word in Creative Processes,” held on May 16, 2023, in Faro, Algarve, as part of the course Transversal Materialities of Creation, within the Master’s in Creation Processes at the University of Algarve. The interview was a supplementary material for the researchers, whose questions were sent after the lecture as a way of obtaining a tangible record of some points discussed by the artists during the event, to which they kindly responded. The answers, which were significant for the development of other works by the researchers, are here shared with the scientific community interested in the study of creation archives and the nuances of the fictional gesture, particularly in relation to these two artists – but not exclusively – as an invitation for future studies. Among the topics discussed are the word as material and tool for creation; the laboratory-kitchen of actor-chemist-cook Mauro Soares; some childhood memories; composition with emptiness; cinema as an impressionist art form for Leonardo Mouramateus; possibilities for a living fiction; and the actor as a being in front of things.Entrevista concedida pelo cineasta Leonardo Mouramateus e pelo ator Mauro Soares às investigadoras Patrícia Dourado e Mirian Tavares, a propósito da palestra “Materialidades da Palavra nos Processos de Criação”, realizada em 16 de maio de 2023, em Faro, no Algarve, no âmbito da disciplina de Materialidades Transversais da Criação, do Mestrado em Processos de Criação da Universidade do Algarve. A entrevista era um material de apoio das investigadoras, cujas perguntas foram enviadas depois da palestra como um meio de ter algum registro material de alguns pontos abordados pelos artistas durante a palestra, e às quais eles gentilmente responderam. As respostas, que foram importantes para o desenvolvimento de outros trabalhos das investigadoras, são aqui compartilhadas com a comunidade científica interessada no estudo dos arquivos da criação e das nuances do gesto ficcional, especialmente destes dois artistas – mas não apenas – em modo de convite para estudos futuros. Entre os pontos abordados estão a palavra enquanto matéria e ferramenta de criação; o laboratório-cozinha do ator-químico-cozinheiro Mauro Soares, algumas memórias de infância; a composição com o vazio; o cinema como arte impressionista para Leonardo Mouramateus, possibilidades para uma ficção viva e o ator como ser diante das coisas
Total Cinematic Musiké: a experiência vídeo-poemática de Patrizia Vicinelli
Full text link“Musikè” (also spelled “mousikē” or “mousike” in Greek) refers to the ancient Greek concept of music and the arts. In ancient Greek philosophy and culture, musikè had a broader meaning than the modern understanding of the term “music”. It encompassed not only instrumental and vocal sounds but also poetry, dance, and other forms of artistic expression. The term is derived from the Muses – the nine goddesses in Greek mythology responsible for inspiring and presiding over the arts and sciences. Musikè was considered an essential part of education in ancient Greece and was associated with the cultivation of the mind, spirit, and character. Its artistic and cultural value, also understood as the ethical formation of individuals, was therefore indispensable. In this article, we will explore how a similar experience can be declared through the fusion of cinema, poetry, and performance in the total opus of Patrizia Vicinelli, especially through her extensive experimental collaborations. Starting with a poetic-cinematic overview, we will delve into a detailed analysis of her cooperation with the artist Mataro da Vergato and the director and partner Gianni Castagnoli, encompassing set design, screenplay, reading, and recorded performance of Durante la costa dei millenni (Along the Coast of Millennia).“Musikè” (also spelled “mousikē” or “mousike” in Greek) refers to the ancient Greek concept of music and the arts. In ancient Greek philosophy and culture, musikè had a broader meaning than the modern understanding of the term “music”. It encompassed not only instrumental and vocal sounds but also poetry, dance, and other forms of artistic expression. The term is derived from the Muses – the nine goddesses in Greek mythology responsible for inspiring and presiding over the arts and sciences. Musikè was considered an essential part of education in ancient Greece and was associated with the cultivation of the mind, spirit, and character. Its artistic and cultural value, also understood as the ethical formation of individuals, was therefore indispensable. In this article, we will explore how a similar experience can be declared through the fusion of cinema, poetry, and performance in the total opus of Patrizia Vicinelli, especially through her extensive experimental collaborations. Starting with a poetic-cinematic overview, we will delve into a detailed analysis of her cooperation with the artist Mataro da Vergato and the director and partner Gianni Castagnoli, encompassing set design, screenplay, reading, and recorded performance of Durante la costa dei millenni (Along the Coast of Millennia).“Musikè” (also spelled “mousikē” or “mousike” in Greek) refers to the ancient Greek concept of music and the arts. In ancient Greek philosophy and culture, musikè had a broader meaning than the modern understanding of the term “music”. It encompassed not only instrumental and vocal sounds but also poetry, dance, and other forms of artistic expression. The term is derived from the Muses – the nine goddesses in Greek mythology responsible for inspiring and presiding over the arts and sciences. Musikè was considered an essential part of education in ancient Greece and was associated with the cultivation of the mind, spirit, and character. Its artistic and cultural value, also understood as the ethical formation of individuals, was therefore indispensable. In this article, we will explore how a similar experience can be declared through the fusion of cinema, poetry, and performance in the total opus of Patrizia Vicinelli, especially through her extensive experimental collaborations. Starting with a poetic-cinematic overview, we will delve into a detailed analysis of her cooperation with the artist Mataro da Vergato and the director and partner Gianni Castagnoli, encompassing set design, screenplay, reading, and recorded performance of Durante la costa dei millenni (Along the Coast of Millennia).“Musikè” (também escrito como “mousikē” ou “mousike” em grego) refere-se ao conceito grego antigo da música e das artes. Na filosofia e cultura da Grécia antiga, musikè tinha um significado mais amplo do que o entendimento moderno do termo “música”. Ela abrangia não apenas sons instrumentais e vocais, mas também poesia, dança e outras formas de expressão artística. O termo é derivado das Musas – as nove deusas da mitologia grega responsáveis por inspirar e presidir as artes e ciências. Musikè era considerada uma parte essencial da educação na Grécia antiga e estava associada ao cultivo da mente, do espírito e do caráter. Seu valor artístico e cultural, também entendido como a formação ética dos indivíduos, era, portanto, indispensável. Neste artigo, exploraremos como uma experiência semelhante pode ser declarada através da fusão de cinema, poesia e performance na obra total de Patrizia Vicinelli, especialmente por meio de suas extensas colaborações experimentais. Começando com uma visão geral poético-cinematográfica, aprofundar-nos-emos em uma análise detalhada de sua cooperação com o artista Mataro da Vergato e o diretor e parceiro Gianni Castagnoli, abrangendo o design de cenário, o guião, a leitura e a performance gravada de Durante la costa dei millenni (Ao Longo da Costa dos Milênios)
No Meshs: Blender as a Tool to Study the Subversion of Public Space in web 2.0
No full textO presente artigo tem como objetivo utilizar criativamente o programa Blender 3D como ferramenta de resistência e elucidação do fenómeno da subversão do espaço público na web 2.0, enquanto processo paradoxal entre um aumento da participação e interação social e a manipulação digital. Para isso, apresenta-se um pensamento progressivo sobre o espaço digital e sobre o problema do Novo Espaço Público (Innerarity, 2010). Inicia-se por uma breve exposição do conceito de Spatial Turn (Warf & Arias, 2009) em comparação com a autonomia do software em oposição ao ciberespaço (Hand, 2010) e o seu impacto n’O Direito à Cidade (Lefebvre, 1968, 1974). De seguida, convoca-se o conceito de Softspace (Lally & Young, 2007), de modo a observar a fronteira entre público e privado. Como resultado, as Imagens Operativas (Paglen, 2014) do momento de renderização sem meshes no Blender 3D, fixam a imagem latente, analisadas à luz de um novo campo da cultura designado por Filosofia da Internet (Ropolyi, 2018). Conclui-se o artigo refletindo-se sobre a subversão do espaço público na web 2.0, a partir dos nexos que se pretendem atingir com esta rede própria de conceitos estabelecidos neste espaço outro entre binários, na sua relação com as imagens operativas da prática artística dai resultante, com vista a uma configuração de uma nova urbanidade digital na Internet.The aim of this article is to creatively use the Blender 3D software as a tool for resistance and elucidation of the phenomenon of the subversion of public space in web 2.0, as a paradoxical process between an increase in social participation and interaction and its digital manipulation. To this end, a progressive approach to digital space and the problem of the New Public Space is presented (Innerarity, 2010). It begins with a brief exposition of the concept of the Spatial Turn (Warf & Arias, 2009) in comparison with the autonomy of software as opposed to cyberspace (Hand, 2010) and its impact on the Right to the City (Lefebvre, 1968, 1974). Next, the concept of Softspace (Lally & Young, 2007) is invoked in order to observe the boundary between public and private. As a result, the Operative Images (Paglen, 2014) of the moment of rendering without meshes in Blender 3D fix the latent image, analyzed in the light of a new field of culture called Internet Philosophy (Ropolyi, 2018). It concludes by reflecting on the subversion of public space in web 2.0, based on the links that are intended to be achieved with this network of concepts established in this other space between binaries, in its relationship with the operative images of the resulting artistic practice, with a view to configuring a new digital urbanity on the Internet.The aim of this article is to creatively use the Blender 3D software as a tool for resistance and elucidation of the phenomenon of the subversion of public space in web 2.0, as a paradoxical process between an increase in social participation and interaction and its digital manipulation. To this end, a progressive approach to digital space and the problem of the New Public Space is presented (Innerarity, 2010). It begins with a brief exposition of the concept of the Spatial Turn (Warf & Arias, 2009) in comparison with the autonomy of software as opposed to cyberspace (Hand, 2010) and its impact on the Right to the City (Lefebvre, 1968, 1974). Next, the concept of Softspace (Lally & Young, 2007) is invoked in order to observe the boundary between public and private. As a result, the Operative Images (Paglen, 2014) of the moment of rendering without meshes in Blender 3D fix the latent image, analyzed in the light of a new field of culture called Internet Philosophy (Ropolyi, 2018). It concludes by reflecting on the subversion of public space in web 2.0, based on the links that are intended to be achieved with this network of concepts established in this other space between binaries, in its relationship with the operative images of the resulting artistic practice, with a view to configuring a new digital urbanity on the Internet.The aim of this article is to creatively use the Blender 3D software as a tool for resistance and elucidation of the phenomenon of the subversion of public space in web 2.0, as a paradoxical process between an increase in social participation and interaction and its digital manipulation. To this end, a progressive approach to digital space and the problem of the New Public Space is presented (Innerarity, 2010). It begins with a brief exposition of the concept of the Spatial Turn (Warf & Arias, 2009) in comparison with the autonomy of software as opposed to cyberspace (Hand, 2010) and its impact on the Right to the City (Lefebvre, 1968, 1974). Next, the concept of Softspace (Lally & Young, 2007) is invoked in order to observe the boundary between public and private. As a result, the Operative Images (Paglen, 2014) of the moment of rendering without meshes in Blender 3D fix the latent image, analyzed in the light of a new field of culture called Internet Philosophy (Ropolyi, 2018). It concludes by reflecting on the subversion of public space in web 2.0, based on the links that are intended to be achieved with this network of concepts established in this other space between binaries, in its relationship with the operative images of the resulting artistic practice, with a view to configuring a new digital urbanity on the Internet
A silhueta de uma borboleta contra a tela vazia: Vestígios da modernidade na experiência de narrar
Full text linkO atual artigo parte de reflexões autobiográficas para refletir sobre os espaços de sobrevivência da narrativa no âmbito da vida, do conto, e do cinema. Cruzando o pensamento de Walter Benjamin, Ricardo Piglia e Silviano Santiago, e as obras de Nikolai Leskov, Edilberto Coutinho, e Eduardo Coutinho, contrói-se um pensamento sobre o "se fazer" do gesto de narrar, e os possíveis lugares onde tais gestos continuam ativos no mundo contemporâneo
A sala de roteiro no Brasil: Um modo híbrido de criação audiovisual – a série O Rei da TV
Full text linkWith the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.With the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.With the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.Com a difusão de serviços de streaming e uma crescente demanda por séries, produtores e roteiristas foram estimulados a utilizar um método norte-americano para a escrita de narrativas: a sala de roteiro. A sala de roteiro é um método com hierarquia marcada e com uma figura preponderante no processo de decisão, o showrunner. Entretanto, o Brasil tem uma tradição na produção de cinema e televisão. Em parte dos filmes e séries realizados no país, a forma de condução dos projetos é caracterizada pelo cinema de autor, uma derivação brasileira da política dos autores da Cahier du Cinéma. O artigo parte da possibilidade de que as atuais narrativas audiovisuais possuem características dos dois métodos de trabalho, e o embate entre os métodos produz marcas na materialidade. Com o apoio das teorias de processo de criação de Cecilia Salles, será analisada a série O Rei da TV, produzida pela Gullane Filmes e exibida na Star Plus. A série conta a história do apresentador Silvio Santos, um dos nomes mais populares da televisão brasileira. Um personagem com forte potencial para atrair espectadores, mas com muitos desafios para se transformar em um sujeito ficcional. Ao refletir sobre os procedimentos de criação da narrativa sobre o famoso apresentador, o artigo constata que a sala de roteiro brasileira é um modo híbrido de escrita audiovisual, porém ainda sem uma sistematização de métodos. A falta de sistematização é um traço do atual momento da produção brasileira, que ainda não consolidou uma relação equilibrada entre roteiristas, produtoras e plataformas de streaming
Museographic strategies of writer’s house museums and literary tourism
Full text linkEste artigo investiga o papel das estratégias museográficas para atração de turistas literários nas casas-museu dos escritores Gabriel García Márquez e João Guimarães Rosa. Utilizando uma metodologia qualitativa, a pesquisa debruçou-se sobre dados secundários, incluindo artigos, catálogos de exposições, panfletos e tour virtual. Os resultados mostram que ambas as casas-museu contextualizam a biografia dos autores no seu ambiente sociocultural. Enquanto a Casa Museo Gabriel García Márquez se foca na dinâmica familiar, o Museu Casa Guimarães Rosa enfatiza o sertão mineiro, o ofício da escrita e a produção artística local. Os resultados também sugerem que estratégias de mediação humana são fatores fundamentais para a compreensão da obra literária e para a atração de um público diversificado, incluindo os turistas.This paper investigates the role of museographic strategies in attracting literary tourists to the house museums of the writers Gabriel García Márquez and João Guimarães Rosa. Applying a qualitative methodology, the research was based on secondary data, including papers, exhibition catalogs, flyers and virtual tours. Results show that both house museums contextualize the authors’ biographies within their sociocultural environment. While Casa Museo Gabriel García Márquez focuses on family dynamics, Museu Casa Guimarães Rosa emphasizes the sertão mineiro, the writing career and local art. Results also suggest that human mediation strategies are key factors for understanding literary works and attracting a diverse audience, including tourists
La eficacia didáctica de la ruta literaturizada
No full textThe article focuses on literary routes for their didactic application. Specifically, it describes different types of routes, focusing specifically on literaturised routes to discuss their effectiveness as a didactic instrument. The article links literaturised routes with the concept of Dérive (Drift) and compares the options of literaturising spaces for possible tourist applications as well as didactic ones. With his aim in mind, the most important concepts for the analysis of literary routes are reviewed and multidisciplinarity is identified as the key to the consolidation of literaturised routes, whether they are intended to be applied to the field of tourism or to the field of education.El artículo se centra en las rutas literarias para su aplicación didáctica. En concreto se propone describir distintos tipos de rutas, fijándose específicamente en las rutas literaturizadas para hablar de su eficacia como instrumento didáctico. Se relaciona con ellas otras experiencias de literaturizar espacios, como el concepto cercano de deriva, y se comparan dichas opciones para posibles aplicaciones turísticas además de las didácticas. Para todo ello se repasan los conceptos más importantes para el análisis de las rutas literarias y se identifica la multidisciplinariedad como clave para la consolidación de las rutas literaturizadas, tanto si se pretende aplicarlas al ámbito turístico como al ámbito educativo
Medical terminology in television series. The case of House and The Good Doctor: a comparative study
Full text linkNowadays, terminology has reached new areas of language and its use is no longer strictly limited to LSP; specialized terms in digital or audio-visual settings, among others, are becoming an increasingly common occurrence. In the present article, the object of study will be the terminology used in the field of medicine in two TV shows on this topic: House and The Good Doctor. The aim is to make a first approach to the usage of terminology in this area in which a real specialised context is reproduced, with the particularity of being aimed at a general audience who are not experts in the subject addressed on the small screen. To this end, the terminological frequency of various episodes of each of the two series will be extracted in order to check how terminology is implemented in them, as well as how its use evolves as the plot progresses, and to establish a comparison between them. The results show that the terminology implemented in this textual typology has similar characteristics to those of the terminology used in a real context, but with some particularities that demonstrate the interest of terminology in these contexts far outside the traditional specialised spheres and that highlight the need to continue studying such terminology in depth, notably due to its potential sociolinguistic implications.Actualmente, la terminología ha impregnado nuevas capas del discurso y su uso ya no se ve limitado al lenguaje especializado puro; cada vez es más habitual encontrar términos especializados en ámbitos digitales o audiovisuales entre otros. En el caso del presente artículo, el objeto de estudio será la terminología del ámbito de la medicina empleada en dos series de televisión con esta temática: House y The Good Doctor. Se pretende realizar un primer acercamiento al funcionamiento de la terminología en este ámbito televisivo en el que se reproduce un contexto especializado real, con la particularidad de estar dirigido a un público lego en la materia a tratar en la pequeña pantalla. Para ello, se extraerá la frecuencia terminológica de diversos capítulos de cada una de las dos series para comprobar cómo se implementa la terminología en ellas, además de cómo va evolucionando su uso a medida que avanza la trama argumental y poder así establecer una comparativa entre ellas. Los resultados nos muestran que la terminología en esta tipología textual tiene unas características similares a las de la terminología empleada en un contexto real, pero con unas particularidades que demuestran el interés de la terminología en estos contextos alejados de los ámbitos especializados tradicionales y la necesidad de seguir profundizando en su estudio, sobre todo debido a sus posibles implicaciones sociolingüísticas.Nowadays, terminology has reached new areas of language and its use is no longer strictly limited to LSP; specialized terms in digital or audio-visual settings, among others, are becoming an increasingly common occurrence. In the present article, the object of study will be the terminology used in the field of medicine in two TV shows on this topic: House and The Good Doctor. The aim is to make a first approach to the usage of terminology in this area in which a real specialised context is reproduced, with the particularity of being aimed at a general audience who are not experts in the subject addressed on the small screen. To this end, the terminological frequency of various episodes of each of the two series will be extracted in order to check how terminology is implemented in them, as well as how its use evolves as the plot progresses, and to establish a comparison between them. The results show that the terminology implemented in this textual typology has similar characteristics to those of the terminology used in a real context, but with some particularities that demonstrate the interest of terminology in these contexts far outside the traditional specialised spheres and that highlight the need to continue studying such terminology in depth, notably due to its potential sociolinguistic implications.Nowadays, terminology has reached new areas of language and its use is no longer strictly limited to LSP; specialized terms in digital or audio-visual settings, among others, are becoming an increasingly common occurrence. In the present article, the object of study will be the terminology used in the field of medicine in two TV shows on this topic: House and The Good Doctor. The aim is to make a first approach to the usage of terminology in this area in which a real specialised context is reproduced, with the particularity of being aimed at a general audience who are not experts in the subject addressed on the small screen. To this end, the terminological frequency of various episodes of each of the two series will be extracted in order to check how terminology is implemented in them, as well as how its use evolves as the plot progresses, and to establish a comparison between them. The results show that the terminology implemented in this textual typology has similar characteristics to those of the terminology used in a real context, but with some particularities that demonstrate the interest of terminology in these contexts far outside the traditional specialised spheres and that highlight the need to continue studying such terminology in depth, notably due to its potential sociolinguistic implications